9 780582 848689
ISBN 0-582-84868-7
TEACHER’S BOOKLET
Pearson Education Limited, Edinburgh Gate, Harlow, Essex,CM20 2JEEngland and Associated Companies throughout the World
© Pearson Education Limited 2004
The right of Dr Helen Bulbeck to be identified as the author of this work has been assertedby her in accordance with the Copyright, Designs and Patents Act of 1998.
Extracts from Stormbreaker © 2001 Anthony Horowitz
Extracts from Point Blanc © 2001 Anthony Horowitz
The original edition of Point Blanc first published 2001 by Walker Books Ltd.
The original edition of Stormbreaker first published 2000 by Walker Books Ltd.
We are grateful to all copyright holders whose material appears in this book. However insome instances we have been unable to trace the owners of copyright material and we
would appreciate any information that would enable us to do so.
All rights reserved. No part of this publication may be reproduced, stored in a retrievalsystem, or transmitted in any form or by any means, electronic, mechanical, photocopying,recording, or otherwise without the prior written permission of the Publishers or a licence
permitting restricted copying in the United Kingdom issued by the Copyright LicensingAgency, 90 Tottenham Court Road, London, W1T 4LP
ISBN 0 582 84868 7
First published 2004
PointBlanc
Introduction
2
AimThe aim of this resource is to provide materials tosupport the teaching of framework objectives throughthe reading of Point Blanc. Reading is a shared, socialactivity and it is important that pupils are given theopportunity to talk and write about their reading.Emphasis is placed on the promotion and developmentof independent reading, as pupils are asked to reflecton the reading strategies they use and are encouragedto try out new ones. Many of the activities encouragepupils to build a bridge between their reading andwriting. In particular, pupils are encouraged to developthe skills that readers in Year 7 need if they are to meetthe reading and writing demands made of them.
The lesson outlineThe lesson outline (pages 5–13) provides a structure forteaching ‘at a glance’. It is intended to provide aframework and can be adjusted to suit yourcircumstances. The structure enables you to cover alonger text, while maintaining pace. Objectives aretaught explicitly and are clearly placed within thecontext of the book and the lesson structure. There willbe issues about coverage, but it is more important thatpupils are able to explore their reading through talk andother interactive approaches, rather than sittingpassively as the whole book is read to them, or worse,they are asked to ‘read around the class’.
Approaches for progressing through the book include:
• pupils or teacher recapping previous chapters thatmay not have been read
• jigsaw reading (groups are given a section or chapterto read and then the group reports back)
• use of video, if available
• use of prepared summaries or diagrammaticrepresentations of the plot
• reading at home, if appropriate.
It is also important to allow pupils to control their ownreading. If they want to read on, let them; re-readingchapters and revisiting prior reading will alwayshighlight things that were missed before.
Guided and group work
Guided and group reading and writing facilitatesinteraction between teacher and pupil and betweenpupil and pupil. The focus on objectives enablesteaching and learning to be pitched at a high level, sothat pupils are challenged and extended. Guided workis a valuable and effective teaching approach as itfocuses on reading and writing strategies, which enablepupils to develop as independent learners. The use ofsmall groups allows the teacher to intervene at thepoint of learning, which means that he or she can havea much more immediate effect on what the pupils aredoing. In addition, it allows pupils to see the goodmodels of reading and writing which are so crucial totheir development as independent readers and writers.
Opportunities for guided reading and writing areindicated within the lesson outline so that every pupilshould have the opportunity to work closely with theteacher. Underpinning these opportunities for guidedreading and writing are group activities which allow therest of the class to work independently of the teacher.It is envisaged that each guided group will consist of nomore than six pupils.
Managing group and guided work
If pupils are unfamiliar with it, it may take time todevelop a culture of guided work in the classroom.However, it is worth persevering. Establishing clearground rules for group and guided work from thebeginning is a good idea. The following may help:
• where possible, create groups from pupils withsimilar reading and confidence skills
• make the groups responsible for their ownorganisation
• identify time and, if possible, clerical support, formanaging the resources
• use additional adult support in the classroom if it isavailable
• edit the materials to suit the needs of the pupils
• give the groups concrete outcomes
• allocate specific roles within the groups, includingthat of timekeeper
• organise pupils into ‘study buddies’
• use peer assessment and rewards
• make it clear that all pupils are expected tocontribute to the plenary.
Resources
This unit does not require extensive resources butideally they should be prepared in advance.Independent or group activities could be photocopiedonto coloured card and laminated, so that pupils havetheir own copies for reference. The main resources youwill need are: copies of the text, highlighter and markerpens, ‘Post-it’ notes, sugar paper, reading journals,copies of extracts on OHT and on paper for annotation.
Reading journals
While some pupils will eagerly share their impressionsabout texts they have read, others feel less comfortablein class discussions, and will keep their thoughts tothemselves. In an effort to encourage all pupils to thinkmore about what they read and to share theirobservations and opinions confidently, some teachersuse reading journals to great advantage. Readingjournals provide pupils with the opportunity to reflect,speculate and express their immediate responses totheir reading. They can be an essential tool in trackinghow pupils are responding to the text.
Pupils can make a wide variety of entries in a readingjournal, including:
3
Literal
• Date of entry.
• Pages/chapter.
• Prior knowledge:– What happened in the last
chapter?– What do you know about …?– Use of KWL grids.
• Sequence key events:– How might the story
continue?– What are the clues?
• Brief summary:– main points– only important/new facts– plot development.
Analysis and interpretation
• Personal response:– reactions– predictions– judgements– comparisons– questions, wonderings– sketches, illustrations– diagrams, tension graphs,
mind-maps– interesting vocabulary,
images– cause and effect.
Synthesis and evaluation
• Readers make connectionsbetween the text and:– themselves– other texts– other things they know.
• Elements of narrative stylereflected in own writing.
• How have responses developedduring reading?
• How are the elements of thetext a synthesis? (Explorethrough mind-mapping.)
How often should pupils write in their journals?
Less is more! Writing in journals several times a week will soon become tedious and pupils will find that they havenothing new to add. It is much better to ask for fewer responses, and ones that require deeper engagement, sothat pupils are writing for themselves and not for the teacher.
Opportunities for using reading journals are highlighted in the resource, but it may be worthwhile establishingroutines so that pupils know when they are expected to make an entry. For example, pupils could be asked toreflect every lesson on the reading strategies that they have used, and make a brief note about them, includingreference to the text.
• noting responses
• questions arising
• mind-mapping and other graphic representations(tension graphs, timelines)
• jotting down words and phrases that need clarifying,or that they could ‘steal’ for their own writing
• keeping track of the plot.
Most pupils will need support if they are to write withclarity and understanding, even if they are just makingnotes. For example, if pupils are asked to delve intocharacters’ motivations and choices, this kind ofresponse will need to be modelled for them. You canalso provide key words and phrases to prompt criticalresponses from pupils, for example:
‘I wonder what this means …’
‘This bit reminds me of …’
‘If it was me, I would …’
‘I was surprised when …’
Assessing the reading journal
It is important that pupils regard the journal as part ofa continuing dialogue with the teacher and with eachother, rather than work that is to be marked. However,there are three stages that reflect critical thinking andreading and these could be used as a teacher checklistfor assessment:
1 A literal encounter with the text – the pupil’sresponses are superficial and tend towards recount.
2 Analysis and interpretation – the pupil’s responses aremore reflective, for example empathy with a characteris reflected in the journal.
3 Synthesis and evaluation – the pupil is able to makelinks within and beyond the text.
It is important to remember that more challengingcontent on its own does not always improve pupils’critical thinking. Equipping pupils with the rightvocabulary and the methods by which they can appraisetheir learning and progress is a critical part of theprocess. Using a layout such as the one suggestedbelow will support pupils when they are developingtheir critical engagement with the text they are reading.Some activities are listed, but these are just suggestions.
Before, duringor after reading
During or afterreading
After reading
Overview of objectivesThe notion of literacy being embedded in objectives is much more than the basicacquisition of skills. The objectives selected here focus on enabling pupils to read asreaders in order to deepen their understanding and appreciation, and to read aswriters so that they can identify typical features and explore how writers gainimpact. This is the point at which the bridge between reading and writing is made –when the pupil has the ability to step outside the body of a text and look at it as awriter. Whilst the majority of objectives selected reflect the development of reading,this does not imply that they should be approached in isolation or taught in areductive way. The objectives listed below encompass the ability to recognise,understand and manipulate the conventions of language and develop the pupils’ability to use language imaginatively and flexibly, in the narrative context. Objectives(and pupils) benefit from being explicitly taught and from being identified anddeployed in context. Other objectives can also be taught (through starter activities),but it is up to the teacher to decide where the priority lies and to adapt the resourcematerials according to the need of the pupils.
While Year 7 is the focus of this resource, this does not mean that the novel couldnot be used with Year 8. With this in mind, the Year 8 objectives listed below couldunderpin the unit.
4
Sn1 Subordinate clausesSn2 Noun phrasesSn11 Sentence variety
Reading
R1 Locate informationR2 Extract informationR3 Compare presentationR4 NotemakingR6 Active readingR7 Identify main ideasR11 Print, sound and imageR12 Character, setting and moodR14 Language choicesR15 EndingsR17 Independent readingR20 Literary heritage
Writing
Wr1 Drafting processWr2 Planning formatsWr3 Exploratory writingWr6 CharacterisationWr7 Narrative devicesWr9 Link writing and readingWr11 Present informationWr13 Instructions and directionsWr14 Evocative descriptionWr18 Present findings
Speaking and listening
S&L1 Clarify through talkS&L4 Answers, instructions, explanations
Sn2 Variety of sentence structureSn4 Tense shifts
Reading
R1 Combine informationR3 Notemaking formatsR4 Versatile readingR5 Trace developmentsR7 Implied and explicit meaningsR8 TranspositionR9 Influence of technologyR10 Development of key ideasR13 Interpret a textR14 Literary conventionsR16 Cultural context
Writing
Wr2 Anticipate reader reactionWr3 Writing to reflectWr5 Narrative commentaryWr6 Figurative languageWr7 Establish the toneWr10 Effective informationWr11 Explain complex ideasWr12 Formal descriptionWr17 Integrate evidence
Speaking and listening
S&L1 Evaluate own speakingS&L5 Questions to clarify or refineS&L7 Listen for a specific purpose S&L9 Evaluate own contributions
Year 7 Year 8
Sentence Sentence
5
Less
on
1
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F3 &
AF6
•R6
Act
ive
read
ing
•W
r3 E
xplo
rato
ry w
ritin
g
Less
on
fo
cus
Ch
apte
r 1
•Pr
edic
t•
Pass
com
men
ts•
Spec
ulat
e•
Hea
r a
read
ing
voic
e
Star
ter/
Intr
od
uct
ion
Rea
din
g jo
urn
als
and
pai
red
dis
cuss
ion
•In
trod
uce
read
ing
jour
nals
and
expl
ain
use.
Enc
oura
ge p
upils
to
use
thei
r re
adin
g jo
urna
lsth
roug
hout
thi
s un
it, s
o th
at t
hey
can
note
dow
n pe
rson
alre
spon
ses
(incl
udin
g ef
fect
s,ph
rase
s, w
ords
tha
t ap
peal
, an
dno
tes
on c
hara
cter
s an
d se
ttin
g)an
d pl
ot t
he t
imel
ine
of e
vent
san
d th
e pa
ssin
g of
tim
e.•
Intr
oduc
e th
e ph
rase
‘ac
tion/
adve
ntur
e ge
nre’
. Fo
cus
on t
heke
y fe
atur
es o
f th
is g
enre
. A
skpu
pils
to
list
film
s/bo
oks/
com
pute
r ga
mes
with
whi
ch t
hey
are
fam
iliar
tha
t ha
ve s
ome
or a
llof
the
se f
eatu
res.
Teac
her
pla
nn
er1.
1
Dev
elo
pm
ent
Effe
ctiv
e o
pen
ing
s•
Ask
pup
ils t
o de
cide
wha
t th
e is
sues
and
them
es a
re t
hat
coul
d be
exp
lore
d in
the
nove
l. Pu
pils
the
n w
rite
five
ques
tions
tha
tth
ey h
ope
will
be
answ
ered
as
they
rea
dth
e no
vel.
•W
orki
ng in
pai
rs,
ask
pupi
ls t
o re
ad t
hree
extr
acts
fro
m t
he n
ovel
and
mak
e no
tes
inth
eir
jour
nals
abo
ut h
ow t
he f
eatu
res
ofth
e ac
tion/
adve
ntur
e ge
nre
(dis
cuss
ed in
the
intr
oduc
tion)
are
ref
lect
ed in
the
seex
trac
ts.
Pup
il w
ork
shee
t•
Mod
el a
clo
se r
eadi
ng o
f th
e op
enin
gex
trac
t, f
ocus
ing
on t
ext
leve
l and
rea
ding
stra
tegi
es.
Use
the
poi
nts
on T
each
erpl
anne
r 1.
2 as
pro
mpt
s.•
Div
ide
the
clas
s in
to s
ix g
roup
s an
d gi
veea
ch g
roup
a f
ocus
as
they
rea
d th
e re
stof
Cha
pter
1.
This
cou
ld b
e an
oppo
rtun
ity f
or g
uide
d re
adin
g. T
each
erp
lan
ner
1.2
1.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•N
omin
ate
one
repr
esen
tativ
e fr
om e
ach
grou
p to
fee
d ba
ck t
heir
disc
ussi
on,
with
refe
renc
e to
the
tex
t.
Ho
mew
ork
•C
ompl
ete
Pupi
lw
orks
heet
1.2
, fo
cusi
ngon
the
ope
ning
s of
Stor
mbr
eake
ran
dPo
int
Blan
c.Pu
pil
wo
rksh
eet
1.2
Less
on
ou
tlin
e
6
Less
on
2 3
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F5 &
AF6
•R
2 Ex
trac
t in
form
atio
n•
R6 A
ctiv
e re
adin
g•
R12
Ch
arac
ter,
sett
ing
and
mo
od
Rea
din
g A
F5 &
AF6
,W
riti
ng
AF5
•W
r6 C
hara
cter
isat
ion
•W
r9 L
ink
writ
ing
and
read
ing
•W
r14
Evoc
ativ
ede
scrip
tion
•Sn
1 Su
bo
rdin
ate
clau
ses
•Sn
11 S
ente
nce
varie
ty
Less
on
fo
cus
Ch
apte
r 2
•Te
xt a
nnot
atio
n •
Re-r
ead
•In
terp
ret
patt
erns
Rea
din
g in
tow
riti
ng
•Se
e im
ages
•Pa
ss ju
dgem
ents
•Fe
el•
Empa
this
e
Star
ter/
Intr
od
uct
ion
Infe
ren
ce a
nd
ded
uct
ion
•Fo
cus
on h
omew
ork
task
. Pu
pil
wo
rksh
eet
•A
sk p
upils
to
com
plet
e Pu
pil
wo
rksh
eet
2.1,
focu
sing
on
desc
riptio
ns o
f ch
arac
ters
inPo
int
Blan
c. (
This
cou
ld b
e do
neas
an
oral
act
ivity
or
as a
car
dso
rt.)
Pup
il w
ork
shee
t
Maj
or
and
min
or
sen
ten
ces
•In
divi
dual
whi
tebo
ard
activ
ity.
Ask
pup
ils t
o pr
ovid
e de
finiti
ons
of m
ajor
and
min
or s
ente
nces
(see
Tea
cher
pla
nner
3.1
for
defin
ition
s).
Inst
ruct
pup
ils t
ow
rite
‘maj
or’
on o
ne s
ide
of t
heir
whi
tebo
ard
and
‘min
or’
on t
heot
her.
Whe
n yo
u gi
ve p
upils
eac
hex
ampl
e of
a m
ajor
or
min
orse
nten
ce f
rom
Cha
pter
2 o
f th
eno
vel (
see
Teac
her
plan
ner
3.1)
,as
k th
em t
o sh
ow w
hat
type
of
sent
ence
it is
by
hold
ing
up t
heir
whi
tebo
ard,
mar
ked
‘maj
or’
or‘m
inor
’.•
Ask
pup
ils t
o ex
plor
e ho
wH
orow
itz h
as u
sed
thes
ese
nten
ce t
ypes
for
eff
ect
inC
hapt
er 2
. Te
ach
er p
lan
ner
3.1
2.1
1.2
Dev
elo
pm
ent
Ch
arac
ter
dev
elo
pm
ent
•M
odel
a c
lose
rea
ding
and
ann
otat
ion
ofth
e fir
st f
our
para
grap
hs o
f C
hapt
er 2
(pag
es 1
1–12
), fo
cusi
ng o
n se
nten
ce a
ndw
ord
leve
l fea
ture
s an
d ho
w t
he r
eade
r’ssy
mpa
thy
tow
ards
Ale
x is
elic
ited.
•D
ivid
e pu
pils
into
gro
ups
of f
our
and
subd
ivid
e gr
oups
into
pai
rs la
belle
d A
and
B. D
irect
Pai
r A
to
focu
s on
exp
lorin
g ho
wA
lex’
s ch
arac
ter
is d
evel
oped
(pa
ges
12–1
5) a
nd P
air
B to
exp
lore
how
the
writ
er s
ugge
sts
that
Sko
da is
evi
l (pa
ges
13–1
7).
Teac
her
pla
nn
er
•A
sk p
upils
to
writ
e ke
y w
ords
fro
m t
heno
vel t
hat
desc
ribe
Ale
x’s
phys
ique
and
his
pers
onal
ity o
n ‘P
ost-
it’ n
otes
. Pu
pils
the
nst
ick
the
note
s on
an
outli
ne o
f A
lex.
NB
Kee
p th
e ou
tline
of
Ale
x an
d th
epu
pils
’ ‘P
ost-
it’ n
otes
for
Les
son
14.
2.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•Se
lect
one
pai
r to
fee
dba
ck o
n ho
w A
lex’
sch
arac
ter
is d
evel
oped
and
one
pair
to f
eed
back
on
how
Hor
owitz
sugg
ests
tha
t Sk
oda
isev
il. C
heck
whi
chre
adin
g st
rate
gies
the
pupi
ls u
sed
in t
his
less
on.
Ho
mew
ork
•Re
ad C
hapt
er 2
.
Rea
din
g in
to w
riti
ng
•G
roup
dis
cuss
ion.
Ask
pup
ils t
o fo
cus
on h
ow c
hara
cter
s ar
ede
scrib
ed in
Poin
t Bl
anc
and
to d
iscu
ss w
hat
mak
es a
n ef
fect
ive
desc
riptio
n (f
ocus
ing
on in
fere
nce
and
dedu
ctio
n). T
each
er p
lan
ner
•C
reat
e a
writ
ing
fram
e w
ith t
he p
upils
to
supp
ort
writ
ing
thei
r ow
nde
scrip
tion
of a
goo
d/ev
il ch
arac
ter.
Pupi
ls t
hen
writ
e th
eir
own
desc
riptio
n, u
sing
the
fra
me
as s
uppo
rt.
This
cou
ld b
e an
opp
ortu
nity
for
guid
ed w
ritin
g. T
each
er p
lan
ner
3.
2
3.2
7
Less
on
4 5
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F4•
R6 A
ctiv
e re
adin
g•
R7 Id
entif
y m
ain
idea
s
Rea
din
g A
F2, A
F3 &
AF4
•R4
Not
emak
ing
•R7
Iden
tify
mai
n id
eas
•W
r3 E
xplo
rato
ry w
ritin
g
Less
on
fo
cus
Ch
apte
r 3
•In
terp
ret
patt
erns
•
Rein
terp
ret
•Re
-rea
d
Ch
apte
rs 4
an
d 5
•Sp
ecul
ate
•Pr
edic
t•
Ask
que
stio
ns•
Re-r
ead
•Re
inte
rpre
t
Star
ter/
Intr
od
uct
ion
Nar
rati
ve s
tru
ctu
reC
ard
so
rt a
ctiv
ity
– C
hap
ter
3d
ivid
ed in
to p
arag
rap
h c
hu
nks
•Ex
plai
n th
at t
hree
sto
ries
are
wov
en t
oget
her
in C
hapt
er 3
, so
that
the
rea
der
sees
the
sam
eev
ent
told
thr
ough
thr
eedi
ffer
ent
perc
eptio
ns.
•M
ake
seve
ral c
opie
s of
Cha
pter
3. D
ivid
e th
e ch
apte
r in
tose
para
te p
arag
raph
chu
nks
and
crea
te a
ser
ies
of c
ards
(w
ithea
ch c
ard
cont
aini
ng a
para
grap
h ch
unk
from
Cha
pter
3).
Ask
pup
ils t
o so
rt o
ut w
hich
para
grap
hs b
elon
g to
:–
Ale
x’s
view
poin
t–
Skod
a’s
view
poin
t–
the
chie
f co
nsta
ble’
s vi
ewpo
int.
Inst
ruct
pup
ils n
ot t
o pu
t th
em in
any
orde
r at
thi
s po
int.
Mak
ing
lin
ks•
Ask
pup
ils t
o ex
plai
n th
e lin
ksbe
twee
n th
e tit
les
of C
hapt
ers
1,2
and
3 an
d th
e co
nten
t. A
skpu
pils
to
pred
ict
how
Cha
pter
4(‘S
earc
h an
d Re
port
’) w
ill d
evel
opth
e pl
ot.
Dev
elo
pm
ent
Nar
rati
ve s
tru
ctu
re•
Dire
ct p
upils
to
wor
k in
gro
ups
of s
ix,
subd
ivid
ed in
to t
hree
pai
rs.
Ask
Pai
r A
to
focu
s on
Ale
x’s
stor
y, P
air
B on
Sko
da a
ndBe
cket
t an
d Pa
ir C
on
the
chie
f co
nsta
ble.
Dire
ct p
upils
to
plac
e ea
ch s
tory
seg
men
tin
the
cor
rect
ord
er s
o th
at t
he s
tory
mak
es s
ense
, an
d th
en m
ake
a no
te o
fho
w t
hey
cam
e to
the
ir de
cisi
on.
Gro
ups
shou
ld t
hen
reco
nven
e an
d in
terw
eave
the
thre
e st
orie
s. T
his
coul
d be
an
oppo
rtun
ityfo
r gu
ided
rea
ding
.•
Ask
pup
ils t
o ex
plor
e ho
w H
orow
itz h
asm
anag
ed t
he t
rans
ition
s be
twee
n th
est
orie
s.
Mak
ing
no
tes
and
rea
din
g jo
urn
als
•Re
min
d pu
pils
abo
ut t
he d
iffer
ent
type
s of
entr
y th
at c
an b
e m
ade
in t
heir
jour
nals
,in
clud
ing
the
use
of ‘
Post
-it’
note
s.
•Sm
all g
roup
wor
k. A
sk p
upils
to
read
Cha
pter
4,
mak
ing
note
s ab
out:
– ho
w t
he p
lot
deve
lops
– th
e ne
w c
hara
cter
s th
at a
re in
trod
uced
– ho
w t
he p
ace
of C
hapt
er 4
con
tras
tsw
ith t
hat
of C
hapt
er 3
.Th
is c
ould
be
an o
ppor
tuni
ty f
or g
uide
dre
adin
g.
Plen
ary
and
Ho
mew
ork
Plen
ary
•A
sk e
ach
grou
p to
com
pare
the
fin
al o
rder
of t
heir
stor
y w
ith t
heor
igin
al o
rder
of
the
stor
y in
Cha
pter
3.
Ho
mew
ork
•Ex
plor
e w
hy t
he f
inal
line
is f
unny
, m
akin
g no
tes
injo
urna
ls.
Plen
ary
•W
orki
ng in
pai
rs,
ask
pupi
ls t
o co
mpa
re t
hedi
ffer
ent
type
s of
not
esth
ey h
ave
mad
e on
Cha
pter
4.
Ho
mew
ork
•Re
ad C
hapt
er 5
.
8
Less
on
6 7
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F2•
R2
Extr
act
info
rmat
ion
•R4
Not
emak
ing
•S&
L1 C
lari
fy t
hro
ug
hta
lk
Rea
din
g A
F3, A
F4 &
AF5
•R
12 C
har
acte
r, se
ttin
gan
d m
oo
d•
R14
Lang
uage
cho
ices
Less
on
fo
cus
Ch
apte
rs 5
–6•
Text
mar
king
and
anno
tatio
n•
Infe
r an
d de
duce
•V
isua
lise
•Em
path
ise
Ch
apte
rs 5
–6
•In
terp
ret
patt
erns
•Re
inte
rpre
t•
Ratio
nalis
e w
hat
is h
appe
ning
Star
ter/
Intr
od
uct
ion
Plo
t•
Ask
pup
ils t
o w
ork
in g
roup
s of
four
. D
irect
the
gro
up m
embe
rsto
dra
w u
p a
‘gro
up’
timel
ine
ofth
e pl
ot a
nd n
ovel
eve
nts
onsu
gar
pape
r. N
omin
ate
one
mem
ber
of t
he g
roup
to
act
asan
obs
erve
r an
d to
not
e do
wn
the
ques
tions
whi
ch a
re a
sked
as
the
grou
p w
orks
.•
Ask
the
obs
erve
rs t
o fe
ed b
ack
on t
he q
uest
ions
ask
ed.
Ask
pupi
ls t
o ex
plor
e ho
w u
sefu
l the
ques
tions
wer
e in
driv
ing
forw
ard
the
disc
ussi
on a
nd t
oid
entif
y w
hich
typ
es o
f qu
estio
nsw
ere
mos
t us
eful
in s
ecur
ing
the
outc
ome.
Stru
ctu
re•
Ask
pup
ils t
o w
ork
in p
airs
.D
irect
Pup
il A
to
draw
a t
ensi
ongr
aph
of C
hapt
er 5
and
Pup
il B
to d
raw
a g
raph
of
Cha
pter
6(s
ee T
each
er p
lann
er 7
.1 f
or a
nex
ampl
e to
mod
el).
Ask
pai
rs t
oco
mpa
re t
he t
wo
grap
hs,
look
ing
for
sim
ilarit
ies
and
diff
eren
ces
betw
een
Cha
pter
s 5
and
6 an
dex
plor
ing
how
the
aut
hor
uses
tens
ion
in t
hese
tw
o ch
apte
rs.
Teac
her
pla
nn
er
7.1
Dev
elo
pm
ent
Ch
arac
teri
sati
on
•Re
ferr
ing
to t
he t
imel
ine
of e
vent
s, a
skpu
pils
to
iden
tify
the
prob
lem
s th
at A
lex
has
face
d so
far
in t
he s
tory
. U
sing
the
exam
ple
on P
upil
wor
kshe
et 6
.1,
dire
ctpu
pils
to
copy
the
cha
rt in
to t
heir
read
ing
jour
nals
. A
sk p
upils
to
reco
rd t
he p
robl
emin
the
firs
t co
lum
n, A
lex’
s so
lutio
n in
the
seco
nd c
olum
n, w
hy h
e ch
ose
this
in t
heth
ird c
olum
n an
d th
e so
lutio
n th
at t
hey
thin
k w
ould
be
best
in t
he f
ourt
h co
lum
n.En
cour
age
pupi
ls t
o fo
cus
on w
hy t
hech
arac
ters
act
the
way
the
y do
. Pu
pil
wo
rksh
eet
6.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•Fo
cus
on t
he r
eadi
ngsk
ill t
hat
is u
sed
toex
plor
e th
e ch
arac
ters
’ac
tions
.
Ho
mew
ork
•Re
ad C
hapt
er 6
.•
Cha
rt e
vent
s an
d th
emes
on t
imel
ine
for
Cha
pter
6.
Nar
rati
ve s
tyle
(1)
•U
sing
tex
t an
nota
tion,
hig
hlig
htin
g an
d ‘P
ost-
it’ n
otes
, m
odel
a c
lose
read
ing
of a
n ex
trac
t fr
om C
hapt
er 5
, fo
cusi
ng o
n ho
w H
orow
itzcr
eate
s te
nsio
n. A
nn
ota
ted
tex
t
•W
orki
ng in
pai
rs,
ask
pupi
ls t
o fo
llow
you
r ex
ampl
e an
d, u
sing
anno
tatio
n an
d ‘P
ost-
it’ n
otes
, m
ake
note
s ab
out
how
ten
sion
iscr
eate
d in
Cha
pter
6.
This
cou
ld b
e an
opp
ortu
nity
for
gui
ded
read
ing.
Teac
her
pla
nn
er
7.1
7.2
9
Less
on
8 9
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F4 &
AF5
•R1
4 La
ngua
ge c
hoic
esW
riti
ng
AF1
& A
F5•
Wr7
Nar
rativ
e de
vice
s•
Wr9
Lin
k w
ritin
g an
dre
adin
g
Rea
din
g A
F2 &
AF3
•R1
Loc
ate
info
rmat
ion
•R
2 Ex
trac
t in
form
atio
n•
R7 Id
entif
y m
ain
idea
s•
Wr2
Pla
nnin
g fo
rmat
s
Less
on
fo
cus
Rea
din
g in
tow
riti
ng
•H
ear
a re
adin
gvo
ice
•Se
e im
ages
•Fe
el•
Re-r
ead
•Re
late
to
prev
ious
rea
ding
expe
rienc
e
Ch
apte
rs 7
–8•
See
imag
es•
Re-r
ead
•Re
inte
rpre
t•
Inte
rpre
tpa
tter
ns
Star
ter/
Intr
od
uct
ion
Nar
rati
ve s
tyle
(1)
•Re
flect
ing
on L
esso
n 7,
ask
pupi
ls t
o cr
eate
a li
st o
f pr
ompt
sab
out
the
stra
tegi
es t
hat
Hor
owitz
use
s to
cre
ate
tens
ion.
This
cou
ld b
e re
cord
ed o
n a
flip
char
t fo
r re
fere
nce
durin
g th
ele
sson
. Th
e w
hite
boar
d w
ill b
ene
eded
for
dra
ftin
g.
Act
ive
read
ing
str
ateg
ies
–ex
trac
t in
form
atio
n•
Ask
the
tw
o pu
pils
sel
ecte
d in
Less
on 8
to
sum
mar
ise
Cha
pter
7fo
r th
e cl
ass.
•Re
min
d pu
pils
tha
t on
e of
the
key
feat
ures
of
the
spy/
thril
ler
and
actio
n ad
vent
ure
genr
es is
the
use
of h
ighl
y sp
ecia
lised
gadg
ets.
Dev
elo
pm
ent
Rea
din
g in
to w
riti
ng
•U
sing
an
open
ing
sent
ence
(ta
ken
from
Stor
mbr
eake
r, C
hapt
er 2
), m
odel
writ
ing
one
para
grap
h, h
elpi
ng p
upils
to
deve
lop
the
stra
tegi
es e
xplo
red
in L
esso
n 7
and
the
star
ter
activ
ity.
Mov
e th
roug
h to
shar
ed w
ritin
g fo
r pa
ragr
aph
two
and
then
ask
pup
ils t
o co
ntin
ue t
o dr
aft
a th
irdpa
ragr
aph
in w
hich
ten
sion
is b
uilt,
usi
ngth
e st
rate
gies
exp
lore
d in
the
pre
viou
sle
sson
. Th
is c
ould
be
an o
ppor
tuni
ty f
orgu
ided
writ
ing.
Tea
cher
pla
nn
er
•M
odel
rea
ding
Ext
ract
s 1
and
2,hi
ghlig
htin
g th
e ke
y fe
atur
es o
f th
ega
dget
. Ex
trac
t th
e re
leva
nt in
form
atio
nab
out
the
gadg
et a
nd e
nter
the
info
rmat
ion
on t
he g
adge
t re
cord
she
et.
Teac
her
pla
nn
er
•A
sk p
upils
to
read
Ext
ract
s 1–
6 (P
upil
wor
kshe
et 9
.1).
Expl
ain
that
Ext
ract
s 2–
6ea
ch r
efer
to
a di
ffer
ent
gadg
et f
rom
the
nove
l. D
irect
pup
ils t
o id
entif
y th
e na
me
of t
he g
adge
t an
d th
en h
ighl
ight
whe
reea
ch g
adge
t is
des
crib
ed in
Ext
ract
1.
Pup
il w
ork
shee
t •
Dire
ct p
upils
to
com
plet
e jig
saw
act
ivity
.Pu
pil
wo
rksh
eet
9.2
9.1
9.1
8.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•A
sk p
upils
to
shar
e th
eir
para
grap
hs w
ith e
ach
othe
r, us
ing
the
prom
ptlis
t as
a s
timul
us f
ordi
scus
sion
. In
vite
tw
opu
pils
to
shar
e th
eir
para
grap
hs w
ith t
hew
hole
cla
ss.
Ho
mew
ork
•A
sk t
wo
pupi
ls t
o re
adC
hapt
er 7
(a
shor
tch
apte
r) a
nd b
epr
epar
ed t
o su
mm
aris
e it
for
the
clas
s at
the
begi
nnin
g of
Les
son
9.Pl
enar
y•
Ask
pup
ils t
o id
entif
y th
eke
y fe
atur
es o
f th
ede
scrip
tion
of a
gad
get
and
to n
ote
thei
ran
swer
s in
the
ir jo
urna
ls.
•Re
visi
t th
e re
adin
gst
rate
gies
use
d in
thi
sle
sson
. Id
entif
y w
hen
pupi
ls w
ould
fin
d it
usef
ul t
o us
e th
ese
stra
tegi
es in
oth
ersu
bjec
ts.
Ho
mew
ork
•Re
ad C
hapt
er 8
and
upda
te t
imel
ine
for
Cha
pter
s 7
and
8.
10
Less
on
10 11
AFs
an
d o
bje
ctiv
es
Wri
tin
g A
F2 &
AF3
•W
r11
Pres
ent
info
rmat
ion
•W
r13
Inst
ruct
ions
and
dire
ctio
ns•
S&L1
Cla
rify
th
rou
gh
talk
•S&
L4 A
nsw
ers,
inst
ruct
ions
, ex
plan
atio
ns
Rea
din
g A
F4 &
AF5
•R1
2 C
hara
cter
, se
ttin
gan
d m
ood
•R1
4 La
ngua
ge c
hoic
es•
Sn2
Nou
n ph
rase
s•
Sn11
Sen
tenc
e va
riety
Less
on
fo
cus
Use
rea
din
g t
oin
form
wri
tin
g•
Inte
rpre
tpa
tter
ns•
Dra
ftin
g•
Vis
ualis
e•
Hea
r a
read
ing
voic
e
Ch
apte
r 9
•In
terp
ret
patt
erns
•A
sk q
uest
ions
•U
se r
eadi
ng t
oin
form
writ
ing
Star
ter/
Intr
od
uct
ion
Co
llab
ora
tive
gro
up
tal
k•
Ask
pup
ils t
o w
ork
in g
roup
s of
four
. A
lloca
te e
ach
pupi
l a r
ole
for
the
star
ter
activ
ity,
whi
ch t
hey
mus
t ke
ep s
ecre
t:–
Pupi
l A:
cont
inua
lly in
terr
upts
– Pu
pil B
: un
ders
tand
s th
e ta
skan
d w
ants
to
com
plet
e it
quic
kly
and
effic
ient
ly–
Pupi
l C:
is t
oo s
hy t
o co
ntrib
ute
and
says
ver
y lit
tle–
Pupi
l D:
wan
ts t
o ta
lk a
bout
wha
t th
ey a
re g
oing
to
do a
tth
e w
eeke
nd.
•A
sk p
upils
to
empt
y th
eir
scho
olba
gs a
nd t
o co
me
up w
ith a
list
of it
ems
that
are
com
mon
to
all
four
pup
ils.
•A
t th
e en
d of
the
act
ivity
, as
kpu
pils
wha
t m
ade
the
com
plet
ion
of t
he t
ask
diff
icul
t.A
sk p
upils
to
iden
tify
wha
t th
eyha
ve le
arnt
fro
m t
his
activ
ity t
hat
they
can
use
in f
utur
e gr
oup
wor
k.
Nar
rati
ve s
tyle
(2)
•A
ctiv
ate
prio
r kn
owle
dge
byas
king
pup
ils t
o ex
plai
n w
hat
ano
un p
hras
e is
and
wha
t it
does
.•
Ask
pup
ils t
o fin
d fo
ur e
xam
ples
of n
oun
phra
ses
from
Cha
pter
9an
d to
sha
re t
hem
with
apa
rtne
r, ex
plai
ning
wha
t th
eef
fect
is.
Dev
elo
pm
ent
•G
roup
tas
k: g
ive
pupi
ls a
she
et o
f su
gar
pape
r an
d a
mar
ker
pen.
Dem
onst
rate
how
to
com
plet
e th
e ga
dget
pla
nnin
gsh
eet
on P
upil
wor
kshe
et 1
0.1,
foc
usin
gon
ada
ptin
g an
item
(a
key
ring)
for
a s
pyto
use
.Pu
pil
wo
rksh
eet
•D
irect
gro
ups
to s
elec
t an
item
and
ada
ptit
as a
gad
get
for
a sp
y, u
sing
the
sug
arpa
per
for
thei
r id
eas
and
then
rec
ordi
ngth
e de
tails
on
Pupi
l wor
kshe
et 1
0.1.
•
Usi
ng t
he k
ey f
eatu
res
note
d in
the
plen
ary
in L
esso
n 9,
pup
ils w
rite
ade
scrip
tion/
expl
anat
ion
of t
heir
gadg
et f
orA
lex
Ride
r.Pu
pil
wo
rksh
eet
•Sh
ared
rea
ding
of
open
ing
to C
hapt
er 9
.Fo
cus
on h
ow A
lex
is m
ade
to f
eel t
hat
Poin
t Bl
anc
is a
n un
wel
com
ing
plac
e.•
Mod
el a
foc
used
exp
lora
tion
of h
ow t
heau
thor
bui
lds
a se
nse
of u
neas
e th
roug
hw
ord
and
sent
ence
leve
l fea
ture
s.
•G
ive
pupi
ls o
ther
sec
tions
to
expl
ore,
follo
win
g yo
ur e
xam
ple.
Thi
s co
uld
be a
nop
port
unity
for
gui
ded
read
ing.
Tea
cher
pla
nn
er11
.1
10.1
10.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•A
sk g
roup
s to
sw
ap t
heir
desc
riptio
ns/e
xpla
natio
nsan
d to
dis
cuss
how
eas
yth
ey a
re t
o fo
llow
.
Ho
mew
ork
•Re
ad C
hapt
er 9
.
Plen
ary
•A
sk p
upils
to
note
dow
nth
ree
way
s in
whi
ch t
heau
thor
has
bui
lt a
sens
eof
une
ase
that
the
yco
uld
use
in t
heir
own
writ
ing.
Ho
mew
ork
•Fl
ip c
hart
res
pons
es in
am
arki
ng f
ram
e fo
r us
e in
the
next
tw
o le
sson
s.
11
Less
on
12 13 14
AFs
an
d o
bje
ctiv
es
Wri
tin
g A
F1, A
F2 &
AF5
•W
r1 D
raft
ing
proc
ess
•W
r2 P
lann
ing
form
ats
•W
r6 C
hara
cter
isat
ion
•W
r7 N
arra
tive
devi
ces
Rea
din
g A
F2•
R1 L
ocat
e in
form
atio
n•
R2
Extr
act
info
rmat
ion
Wri
tin
g A
F2•
Wr2
Pla
nnin
g fo
rmat
s
Rea
din
g A
F2 &
AF6
Wri
tin
g A
F2•
Wr9
Lin
k w
ritin
g an
dre
adin
g•
Wr1
8 Pr
esen
t fin
ding
s
Less
on
fo
cus
Rea
din
g in
tow
riti
ng
•In
terp
ret
patt
erns
•A
sk q
uest
ions
•Re
-rea
d•
Rein
terp
ret
Ch
apte
r 10
•In
terp
ret
patt
erns
•A
sk q
uest
ions
•M
ake
judg
emen
ts
Rea
din
g in
tow
riti
ng
•In
fer
and
dedu
ce•
Vis
ualis
e•
Empa
this
e•
Dra
ftin
g
Star
ter/
Intr
od
uct
ion
Mak
ing
no
tes
•Re
ad C
hapt
er 1
0 (p
ages
118–
122)
with
the
pup
ils.
•A
sk t
he p
upils
wha
t th
ey n
otic
eab
out
the
styl
e of
writ
ing
that
desc
ribes
the
oth
er b
oys
in t
heno
vel.
•A
sk p
upils
to
expl
ain
how
itdi
ffer
s fr
om t
he w
ritin
g th
at is
on
page
s 12
1–12
2.•
Ask
pup
ils t
o id
entif
y an
ypa
tter
ns in
eac
h of
the
not
esab
out
each
boy
and
to
crea
te a
snap
shot
of
one
of t
heir
frie
nds
in t
he s
ame
styl
e.
Ch
arac
ter
dev
elo
pm
ent
– w
riti
ng
to a
nal
yse,
rev
iew
, co
mm
ent
•A
sk p
upils
to
revi
sit
the
outli
neof
Ale
x fr
om L
esso
n 2
and
tode
cide
whi
ch n
otes
sho
uld
rem
ain
on t
he o
utlin
e an
d w
hich
no lo
nger
app
ly t
o A
lex.
Ask
pupi
ls t
o co
nsid
er if
any
sho
uld
be a
dded
. •
Rem
ind
pupi
ls t
hat
all c
omm
ents
mus
t be
sup
port
ed w
ith e
vide
nce
from
the
tex
t.
Dev
elo
pm
ent
•M
odel
ext
ract
ing
info
rmat
ion
from
an
obitu
ary,
thr
ough
hig
hlig
htin
g an
d th
enpu
lling
out
key
fac
ts a
nd jo
ttin
g th
emdo
wn.
•G
ive
pupi
ls a
n ob
ituar
y an
d as
k th
em t
om
ake
note
s ab
out
the
pers
on,
usin
ghi
ghlig
htin
g as
a t
echn
ique
and
jott
ing
dow
n th
e ke
y fa
cts.
Thi
s co
uld
be a
nop
port
unity
for
gui
ded
read
ing.
Ch
arac
teri
sati
on
– m
ovi
ng
to
war
ds
wri
tin
g•
Mod
el t
he p
oint
/exa
mpl
e/ex
plan
atio
npr
oces
s, u
sing
the
‘Po
st-it
’ no
tes
from
the
star
ter
activ
ity.
Use
Tea
cher
pla
nner
14.
1to
mod
el o
ne e
xam
ple,
sho
win
g ho
wth
ese
note
s ca
n be
rem
odel
led
into
an
eval
uativ
e co
mm
ent.
•A
sk p
upils
to
choo
se a
noth
er e
xam
ple.
Mov
e th
roug
h to
sha
red
and
then
to
inde
pend
ent
writ
ing.
Thi
s co
uld
be a
nop
port
unity
for
gui
ded
writ
ing.
Teac
her
pla
nn
er14
.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•A
sk p
upils
to
shar
e th
eir
draf
ts a
nd u
sing
the
mar
king
fra
me
from
Less
on 1
1, p
eer
asse
ssea
ch o
ther
’s pa
ragr
aphs
.
Ho
mew
ork
•M
ake
final
am
endm
ents
to p
arag
raph
.
Plen
ary
•A
sk p
upils
to
iden
tify
whe
n th
ey c
ould
use
high
light
ing
and
note
mak
ing
in o
ther
subj
ects
.
Ho
mew
ork
•Re
ad t
he r
est
of C
hapt
er10
.
Plen
ary
•A
sk p
upils
to
writ
e th
ree
poin
ts t
o re
mem
ber
whe
n w
ritin
g to
ana
lyse
/re
view
/com
men
t.
Ho
mew
ork
•A
sk t
wo
pupi
ls t
o re
adC
hapt
er 1
1 an
d be
prep
ared
to
sum
mar
ise
itfo
r th
e cl
ass
at t
hebe
ginn
ing
of L
esso
n 15
.
Rea
din
g in
to w
riti
ng
•U
sing
the
ope
ning
sen
tenc
e of
a p
arag
raph
tak
en f
rom
Sto
rmbr
eake
r(‘T
heca
r re
ache
d th
e m
ain
gate
, w
here
the
re w
as a
sec
urity
cab
in a
nd a
nel
ectr
onic
bar
rier’
, pa
ge 6
9),
mod
el w
ritin
g on
e pa
ragr
aph,
dev
elop
ing
the
stra
tegi
es e
xplo
red
in L
esso
n 11
. M
ove
thro
ugh
to s
hare
d w
ritin
g fo
rpa
ragr
aph
two
and
then
ask
pup
ils t
o co
ntin
ue t
o dr
aft
a th
ird p
arag
raph
inw
hich
a s
ense
of
unea
se is
bui
lt, u
sing
the
str
ateg
ies
expl
ored
in t
he p
revi
ous
less
on.
This
cou
ld b
e an
opp
ortu
nity
for
gui
ded
writ
ing.
Tea
cher
pla
nn
er12
.1
12
Less
on
15 16 17
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F4 &
AF5
•R
12 C
har
acte
r, se
ttin
gan
d m
oo
d•
R14
Lang
uage
cho
ices
•W
r6 C
hara
cter
isat
ion
Rea
din
g A
F2 &
AF4
•R
2 Ex
trac
t in
form
atio
n•
R3 C
ompa
re p
rese
ntat
ion
•R1
5 En
ding
s
Rea
din
g A
F2, A
F3 &
AF4
•R7
Iden
tify
mai
n id
eas
•R1
1 Pr
int,
sou
nd a
ndim
age
Less
on
fo
cus
Ch
apte
rs 1
1–12
•Re
-rea
d•
Rein
terp
ret
•Su
mm
aris
e•
Pass
judg
emen
ts•
Inte
rpre
tpa
tter
ns
Ch
apte
r 13
•Fo
rm a
ndst
ruct
ure
•
Re-r
ead
•Re
inte
rpre
t
Ch
apte
r 14
•Re
-rea
d•
Rein
terp
ret
•Su
mm
aris
e•
Pass
judg
emen
ts•
Pass
com
men
ts
Star
ter/
Intr
od
uct
ion
Stru
ctu
re•
Ask
the
tw
o pu
pils
sel
ecte
d in
Less
on 1
4 to
sum
mar
ise
Cha
pter
11 f
or t
he c
lass
.•
Dire
ct p
upils
to
revi
sit
and
upda
te t
heir
timel
ines
and
add
inke
y ev
ents
for
Cha
pter
s 7–
11.
•Re
min
d pu
pils
als
o to
not
e w
here
the
high
poi
nts
of t
ensi
on in
the
nove
l occ
ur.
Stru
ctu
re a
nd
ten
sio
n –
th
ecl
ock
, th
e cr
uci
ble
an
d t
he
con
trac
t•
Intr
oduc
e th
e co
ncep
t of
the
cloc
k, t
he c
ruci
ble
and
the
cont
ract
.Pu
pil
wo
rksh
eet
Film
v p
rose
•Sh
ow p
upils
an
extr
act
from
asp
y fil
m.
•A
sk p
upils
wha
t si
mila
ritie
s th
eyca
n se
e be
twee
n th
is a
ndex
trac
ts f
rom
Poi
nt B
lanc
.
16.1
Dev
elo
pm
ent
Dia
log
ue
and
nar
rati
ve c
om
men
t•
Read
Cha
pter
12
with
the
pup
ils.
Mod
elre
adin
g pa
ges
152–
153,
exp
lorin
g ho
wH
orow
itz m
anag
es t
he t
rans
ition
bet
wee
ndi
alog
ue a
nd n
arra
tive
com
men
t (s
eeTe
ache
r pl
anne
r 15
.1).
An
no
tate
d t
ext
•A
sk p
upils
to
focu
s on
pag
es 1
58–1
60,
expl
orin
g fo
r th
emse
lves
how
thi
str
ansi
tion
is h
andl
ed.
This
cou
ld b
e an
oppo
rtun
ity f
or g
uide
d re
adin
g. T
each
erp
lan
ner
•A
sk p
upils
to
wor
k in
pai
rs –
eac
h pa
irla
belle
d A
, B
or C
. D
irect
pup
ils t
oco
mpl
ete
Pupi
l wor
kshe
et 1
6.1.
•
Pupi
ls li
st o
ther
boo
ks/f
ilms
they
kno
wth
at h
ave
used
the
se c
once
pts.
Pu
pil
wo
rksh
eet
•Sm
all g
roup
rea
ding
of
Cha
pter
13.
Pup
ilsex
plor
e w
hat
happ
ens
to t
he t
ensi
on in
this
cha
pter
.
Pro
se in
to f
ilm•
Intr
oduc
e th
e se
man
tic f
ield
of
film
ing
–na
mes
of
cam
era
angl
es,
stor
yboa
rdin
g,so
und
effe
cts,
etc
.•
Show
pup
ils t
he e
xtra
ct f
rom
the
spy
film
agai
n, id
entif
ying
the
diff
eren
t ca
mer
aan
gles
, so
und
effe
cts,
etc
. an
d ex
plor
e th
eef
fect
.•
Iden
tify
and
bulle
t po
int
the
key
mom
ents
on p
ages
181
–187
. A
sk p
upils
to
iden
tify
whi
ch c
amer
a an
gles
and
sou
nd e
ffec
tsth
ey w
ould
use
if t
his
extr
act
was
bei
ngfil
med
. Th
is c
ould
be
com
plet
ed a
s a
stor
yboa
rd.
16.1
15.1
15.2
Plen
ary
and
Ho
mew
ork
Plen
ary
•A
sk p
upils
to
expl
ore
wha
t th
e st
rate
gies
are
that
the
aut
hor
uses
for
man
agin
g th
e tr
ansi
tion
betw
een
dial
ogue
and
narr
ativ
e co
mm
ent.
Ask
pupi
ls t
o w
rite
thre
eid
eas
in t
heir
jour
nals
that
the
y co
uld
use
inth
eir
own
writ
ing.
Ho
mew
ork
•Re
ad C
hapt
ers
14–1
5.
Ho
mew
ork
•Re
ad C
hapt
er 1
6.
13
Less
on
18 19
AFs
an
d o
bje
ctiv
es
Rea
din
g A
F2, A
F3, A
F6 &
AF7
•R
17 In
dep
end
ent
read
ing
•R2
0 Li
tera
ry h
erita
ge
Rea
din
g A
F4, A
F6 &
AF7
•R7
Iden
tify
mai
n id
eas
•R1
5 En
ding
s
Less
on
fo
cus
Film
v p
rose
•Em
path
ise
•In
terp
ret
patt
erns
•Re
-rea
d •
Dra
ftin
g•
Rela
te t
o ow
nex
perie
nce
Rev
iew
•Re
inte
rpre
t•
Re-r
ead
•In
terp
ret
patt
erns
•Pa
ss c
omm
ent
•Pa
ss ju
dgem
ent
Star
ter/
Intr
od
uct
ion
Stru
ctu
re o
f w
ho
le t
ext
•W
orki
ng in
pai
rs,
ask
pupi
ls t
oth
ink
abou
t w
hy w
e en
joy
read
ing/
wat
chin
g th
eac
tion/
adve
ntur
e an
d sp
y/th
rille
rge
nres
:–
esca
pism
– to
live
thr
ough
the
eye
s of
the
hero
/her
oine
– tr
ansp
orts
us
to e
xotic
wor
lds
– w
e ca
n ac
com
plis
hun
imag
inab
le f
eats
– re
affir
ms
that
goo
d al
way
sw
ins
over
evi
l.
End
ing
s an
d b
egin
nin
gs
•Fo
cus
pupi
ls o
n ex
plor
ing
wha
tm
akes
an
effe
ctiv
e en
ding
.•
Expl
ore
the
deriv
atio
n of
the
wor
d ‘d
enou
emen
t’ a
nd h
ow it
appl
ies
to p
lots
(Fr
ench
–dé
noue
r: t
o un
tie,
Latin
– n
odus
:a
knot
).•
Ask
pup
ils t
o co
nsid
er t
o w
hat
exte
nt t
he e
ndin
g of
Poi
nt B
lanc
is a
sat
isfa
ctor
y de
noue
men
t.
Dev
elo
pm
ent
•W
orki
ng in
pai
rs t
o fo
urs,
ask
pup
ils t
o lis
tth
e co
mm
on f
acto
rs b
elon
ging
to
the
spy
nove
ls/f
ilms
with
whi
ch t
hey
are
fam
iliar
.Te
ach
er p
lan
ner
•A
sk p
upils
to
upda
te t
heir
timel
ines
for
Poin
t Bl
anc.
The
n as
k pu
pils
wha
tsi
mila
ritie
s an
d di
ffer
ence
s th
ey c
anid
entif
y be
twee
n th
e st
ruct
ure
of P
oint
Blan
can
d th
e ge
neric
str
uctu
re o
f sp
yno
vels
/film
s. E
xpla
in t
hat
pupi
ls w
ho h
ave
read
oth
er H
orow
itz n
ovel
s in
thi
s se
ries
can
also
use
thi
s kn
owle
dge.
Tea
cher
pla
nn
er
The
role
of
the
acti
on
her
o•
Ask
pup
ils t
o w
ork
in p
airs
. Ea
ch p
air
note
s do
wn
the
key
char
acte
ristic
s of
an
actio
n he
ro o
n a
spid
er d
iagr
am.
Pup
ilw
ork
shee
t•
Pupi
ls c
onsi
der
the
diff
eren
ce b
etw
een
hero
es a
nd id
ols.
Pu
pil
wo
rksh
eet
•Pu
pils
exp
lore
Ale
x’s
role
in P
oint
Bla
ncan
d co
nsid
er w
heth
er o
r no
t he
is a
her
o.Pu
pil
wo
rksh
eet
19.1
19.1
19.1
18.1
18.1
Plen
ary
and
Ho
mew
ork
Plen
ary
•Ex
plor
e w
ith p
upils
wha
tth
e et
hica
l dile
mm
aw
hich
aris
es in
thi
s no
vel
is a
nd h
ow t
he a
utho
rde
als
with
it.
Ho
mew
ork
•Re
ad C
hapt
er 1
7.
Plen
ary
•A
sk f
ive
pairs
to
feed
back
to
the
clas
s.•
Revi
sit
the
final
para
grap
h an
d ex
plor
ew
hat
is a
mbi
guou
sab
out
the
endi
ng.
Dis
cuss
how
it a
dds
toth
e se
nse
ofac
tion/
adve
ntur
e.
Teaching objectives• R6 adopt active reading approaches to engage with and make sense of texts, e.g.
visualising, predicting, empathising and relating to own experience
• Wr3 use writing to explore and develop ideas, e.g. journals, brainstormingtechniques and mental mapping activities.
Focus• Chapter 1
• Key features of action/adventure genre.
Introduction to the action/adventure genreExplain to pupils that the action/adventure genre lends itself perfectly to the most important reason why we readaction/adventure books and/or see action/adventure films – to escape and live through the eyes and deeds of theaction hero or heroine. Emphasise that the action/adventure genre satisfies the armchair adventurer in us all.
Explore with pupils the following essential features of the action/adventure genre:
• The story is set in specific time in exotic locales. The period tends to be set in contemporary times in lands thatbear some resemblance to how we live, so that we can identify with them.
• There is unity of time – the action happens within a specified period with no prolonged gaps of time.
• The action hero accepts a quest which will bring greater good to the world.
• The action hero has specific qualities which qualify him to be sought to complete the quest.
• The action hero is placed in a situation from which he must escape.
• The action hero doesn’t need someone to tell him how dangerous the quest is. He knows the danger and he’snot above showing fear or reluctance.
• The quest is linked to and, at times, overshadowed by an overriding world conflict.
• However, the world conflict is not usually the reason why the action hero will embark on the quest. Usually theaction hero has an inner journey that involves personal growth.
• The enemy is usually personified in one being, but he/she will have many sidekicks.
• Friends and love interests are usually present and are often held hostage.
• The stages of the quest are marked by ordeals.
• There is a final conflict of good versus evil and this is usually personal – between the action hero and the enemy.
• The action hero will have a mentor.
• The action hero is often provided with specialised gadgets.
• The action is almost continuous in a fast-paced plot.
Discuss with pupils the following examples of novels and films that have features of the action/adventure genre.Ask pupils to list films/books/computer games with which they are familiar that have some or all of the keyfeatures of the action/adventure genre (listed above).
Typical examples of action/adventure:
14
Teacher planner 1.1Lesson 1
Novels Films• Robin Hood (from a medieval legend) • Robin Hood
• Raise the Titanic • Under Siege
• Raiders of the Lost Ark (written after the film) • Indiana Jones and the Temple of Doom
• African Queen • Batman
• King Solomon’s Mines • Bond films
• On Her Majesty’s Secret Service • Braveheart(or any Ian Fleming novel)
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 1.1Lesson 1
ContextAs a group we have:
• explored how we are going to use reading journals
• discussed the key features of the action/adventure genre and identified someexamples.
Now you are going to read three extracts from Point Blanc.
Objectives• R6 Active reading
• Wr3 Exploratory writing.
15
1 Read the following extracts from Point Blanc.
2 Work with a partner and identify some of the features of the action/adventure genre in theextracts. Note down your ideas in your reading journals.
Extract 1 (from Chapter 1)
Extract 2 (from Chapter 6)
Extract 3 (from Chapter 17)
Michael J. Roscoe was a careful man.
The car that drove him to work at seven fifteen each morning was a custom-madeMercedes with reinforced steel doors and bullet-proof windows. His driver, a retired FBIagent, carried a Beretta sub-compact semi-automatic pistol and knew how to use it. Therewere just five steps from the point where the car stopped to the entrance of Roscoe Toweron New York’s Fifth Avenue, but closed circuit television cameras followed him every inchof the way.
Alex didn’t dare look behind him, but he felt the train as it reached the mouth of thetunnel and plunged into it, travelling at one hundred and five miles per hour. A shockwave hammered into them. The train was punching the air out of its way, filling the spacewith solid steel. The horse understood the danger and burst forward with new speed, itshooves flying over the sleepers in great strides. Ahead of them the tunnel mouth openedup but Alex knew, with a sickening sense of despair, that they weren’t going to make it.
The flames were tearing through the building. Fed by a variety of chemicals, they burstthrough the roof, melting the asphalt. In the far distance the scream of fire enginespenetrated the sun-filled air. Alex pulled with all his strength, trying to bring the gundown. The other Alex clawed at him, swearing – not in English but in Afrikaans.
The end came very suddenly.
Teaching objectives• R6 adopt active reading approaches to engage with and make sense of texts, e.g.
visualising, predicting, empathising and relating to own experience
• Wr3 use writing to explore and develop ideas, e.g. journals, brainstormingtechniques and mental mapping activities.
Focus• Chapter 1
• Key features of action/adventure genre.
Model a close reading of the opening extract of the novel (below), focusing the pupils’ attention on text level andreading strategies. Use the following points as prompts:
Divide the class into six groups and give each group one of the following areas of focus as they read the rest ofChapter 1:
• The use made of technical language – this group should note examples of technical/specialised language andexplore the effect on the reader.
• The way that time is charted in the chapter – this group should highlight references to time, includingconnectives such as ‘meanwhile’ and explore how these add to the pace of the chapter.
• The narrative hooks used to keep us reading – this group should explore what makes us want to read on.
• The features of action/adventure genre – this group should continue to identify other features of theaction/adventure genre in this chapter.
• Characterisation – this group should explore the character of Michael J. Roscoe and make brief notes about him.What do we learn about him?
• Characterisation – this group should explore the character of Sam Green and make brief notes about him. Whatdo we learn about him?
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Teacher planner 1.2Lesson 1
Chapter 1: page 1
Michael J. Roscoe was a careful man. The car that drove him to work at seven fifteen each morning
was a custom-made Mercedes with reinforced steel doors andbullet-proof windows. His driver, a retired FBI agent, carried aBeretta sub-compact semi-automatic pistol and knew how touse it. There were just five steps from the point where the carstopped to the entrance of Roscoe Tower on New York’s FifthAvenue, but closed circuit television cameras followed himevery inch of the way. Once the automatic doors had slid shutbehind him, a uniformed receptionist – also armed – watchedas he crossed the foyer and entered his own private lift.
The lift had white marble walls, a blue carpet, a silver handrailand no buttons. Roscoe pressed his hand against a small glasspanel. A sensor read his fingerprints, verified them andactivated the lift. The doors slid shut and the lift rose to thesixtieth floor without stopping. Nobody else ever used it. Nordid it ever stop at any of the other floors in the building. Whileit was travelling up, the receptionist was on the telephone,letting Mr Roscoe’s staff know that he was on his way.
Extract from Point Blanc by Anthony Horowitz
Simple sentencefor impact. Whois Michael J.Roscoe and whyis he careful?
Why use onlysurname?
This suggests it isa very moderntime setting
Mr Roscoe mustbe very importantto have his ownstaff
Punctuation –dashes – used foremphasis
Why not? Thisadds to Roscoe’sstatus
He is obviouslyvery wealthy andimportant
Noun phrasesprovide detailand add to themystery
Why does hehave all thissecurity?
Set in America –this is a rich,exciting area ofNew York
Told in thirdperson
• What is my purpose in reading this text?
• What can I immediately begin to understand?
• Who is the narrative voice in the story?
• What do I learn about the voice in the story?
• What hooks are used?
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 1.2Lesson 1
ContextAs a group we have:
• explored how we are going to use reading journals
• discussed the key features of the action/adventure genre and identified someexamples.
Now you are going to explore the similarities between the opening to Stormbreakerand Point Blanc.
Objectives• R6 Active reading
• Wr3 Exploratory writing.
17
Homework
Read the opening (below) to Stormbreaker, the first novel in the Alex Rider series. Now re-readthe opening to Point Blanc and answer the following:
1 What similarities can you find in Stormbreaker and Point Blanc in the way in which Horowitzuses narrative hooks to keep us reading?
2 Which opening do you prefer, and why?
FUNERAL VOICES
When the doorbell rings at three in the morning, it’s never good news.
Alex Rider was woken by the first chime. His eyes flickered open but for a moment hestayed completely still in his bed, lying on his back with his head resting on the pillow.He heard a bedroom door open and a creak of wood as somebody went downstairs.The bell rang a second time and he looked at the alarm clock glowing beside him. 3.02 a.m. There was a rattle as someone slid the security chain off the front door.
He rolled out of bed and walked over to the open window, his bare feet pressing downthe carpet pile. The moonlight spilled on to his chest and shoulders. Alex was fourteen,already well-built, with the body of an athlete. His hair, cut short apart from two thickstrands hanging over his forehead, was fair. His eyes were brown and serious. For amoment he stood silently, half-hidden in the shadow, looking out. There was a police carparked outside. From his second floor window Alex could see the black ID number onthe roof and the caps of the two men who were standing in front of the door.
Extract from Stormbreaker by Anthony Horowitz
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 2.1Lesson 2
18
1 Below are a variety of words/phrases used to describe the characters in Point Blanc. Somedescribe characters that you have already met; others do not. Make notes in your readingjournal about the types of characters that appear in this novel, focusing on the following:
• Decide which type of character the words/phrases describe – good or evil?
• What do we learn about the characters from the words/phrases?
• How do they make you, the reader, feel?
• Can you find any patterns in the words/phrases?
• Can you link any of them together, so that they could be applied to one character?
ContextAs a group we have:
• explored how we are going to use reading journals
• discussed the key features of the action/adventure genre and identified someexamples
• compared the opening of Point Blanc with that of Stormbreaker.
Now you are going to explore inference and deduction in the characterisation ofPoint Blanc.
Objectives• R2 Extract information
• R6 Active reading
• R12 Character, setting and mood.
five metal studs in his ear I didn’t know I had special status
his skin was white, his lips vague shadows You can kiss me if you like
she had a facial structure that wasn’t quite It was like meeting a skeletonhuman
He didn’t want to boast about what he’d done bright, red haired American girl
His hair – black and a little greasy – was fake had no parents
Quiet anger in his voice grey suit, grey face, grey life
took out a small handkerchief and dabbed at Miss Stomach-bagher eyes
Well built with black hair, square shoulders and A careful mana dark, watchful face
‘Nice to have you with us,’ he drawled he hated having to deceive his friends
When she wasn’t quoting opera, she was boasting about her lifestyle, her wealth, her holidays around the world
✁
Teaching objectives• R2 use appropriate reading strategies to extract particular information,
e.g. highlighting, scanning
• R6 adopt active reading approaches to engage with and make sense of texts, e.g. visualising, predicting, empathising and relating to own experience
• R12 comment, using appropriate terminology, on how writers conveysetting, character and mood through word choice and sentence structure.
Focus• Chapter 2
• Text annotation – sentence and word level features.
Modelled readingModel a close reading and annotation of the first four paragraphs of Chapter 2 (below), focusing on sentence andword level features and how the reader’s sympathy towards Alex is elicited.
19
Teacher planner 2.1Lesson 2
Chapter 2: pages 11–12
The worst time to feel alone is when you’re in a crowd.Alex Rider was walking across the playground, surrounded by
hundreds of boys and girls of about his own age. They were allheading in the same direction, all wearing the same blue andgrey uniform, all of them probably thinking much the samethoughts. The last lesson of the day had just ended. Homework,tea and television would fill the remaining hours until bed. So why did he feel out of it, as if he were watching the lastweeks of the term from the other side of a giant glass screen?
Alex jerked his backpack over one shoulder and continuedtowards the bike shed. The bag was heavy. As usual, itcontained double homework … French and history. He hadmissed two weeks of school and he was having to work hard tocatch up. His teachers had not been sympathetic. Nobody hadsaid as much, but when he finally returned with a doctor’s letter(… a bad dose of flu with complications) they had nodded andsmiled and secretly thought him a little pampered and spoiled.On the other hand they had to make allowances. They all knewthat Alex had no parents, that he had been living with an unclewho had died in some sort of car accident. But even so. Two weeks in bed! Even his closest friends had to admit thatwas a bit much!
And he couldn’t tell them the truth. He wasn’t allowed to tellanyone what really happened. That was the hell of it.
Show how Alex faces many problems in these three paragraphs:
• He feels alone.
• He doesn’t know why.
• His bag is heavy.
• He has double homework.
• He has missed two weeks of school.
• He has to work hard to catch up.
• His teachers are unsympathetic.
• They think him spoiled.
• He has no parents.
• His uncle has died.
• He can’t be honest.
Superlative usedfor emphasis
Use of directaddress to readermakes us feel theloneliness
Use of first namemakes him seemfamiliar
This is bad, butthen it getsworse
Suggests he hasa moral code
He sticks to thisand therefore istrustworthy
Use ofexclamation marksadds adisapproving tone,which makes usside with Alexeven more
This suggeststhat he standsout from thecrowd. He hasbeen singled out
Use of questionmakes him seemvulnerable. Hedoesn’t know theanswers
All children willidentify andsympathise withthis!
Teaching objective• Sn11 vary the structure of sentences within paragraphs to lend pace, variety and
emphasis.
Focus• Chapter 2
• Major and minor sentences.
Activating prior knowledge
Ask pupils to provide definitions of major and minor sentences.
Major sentence: A major sentence is regular in construction; it uses established rules and follows a pattern, e.g.‘Alex jerked his backpack over one shoulder and continued towards the bike shed.’
Minor sentence: A minor sentence does not follow rules and often looks like it has no structure or pattern, e.g.‘But even so.’
Whiteboard task
Below is a list of major and minor sentences from Chapter 2 of Point Blanc. Ask pupils to write ‘major’ on one sideof their whiteboard and ‘minor’ on the other. When you give each example, ask pupils to show what type ofsentence they think it is. This could be run as a card sort task.
Ask pupils to explore how Horowitz has used these sentence types for effect in Chapter 2.
20
Teacher planner 3.1Lesson 3
The bag was heavy. Another school day.
For a moment he was dizzy. Two weeks in bed!
What could he do? The barge.
Alex looked around him. The building site.
Could it be done? And Blackpool funfair.
He was right. It probably could.
✁
SENTENCES
Major Minor
Teaching objectives• Wr9 make links between their reading of fiction, plays and poetry and the choices
they make as writers
• Wr14 describe an object, person or setting in a way that includes relevant detailsand is accurate and evocative.
Focus• Character descriptions.
Working in groups, ask pupils to focus on how characters are described in Point Blanc and to discuss what makesan effective description (focusing on inference and deduction). Then ask pupils to write a description of a good/evilcharacter; use the prompts below to support pupils when they are writing their character description. Before theybegin to write, create a writing frame to help them write their description.
The best frames are those that are created with the class, so that there is a shared understanding of theexpectations. You can use the following as a guide to support the creation of a joint frame:
21
Teacher planner 3.2Lesson 3
Dialogue and commentary
Variety of sentences to add rhythm and effect:
Simple
Compound
Complex
Unusual sentence structures, e.g. noun phrasesgrouped together
Use of minor sentences, e.g. one word
Adverbial phrases at the front of sentences
Variety of sentence openings:
Non-finite verbs
Subordinate clauses
Pronouns
Noun phrases
Conjunctions
Vocabulary:
Verbs used for impact and effect
Tense used for effect
Imagery and figurative language
• Am I going to open with dialogue and then moveinto commentary, or the other way around?
• How much dialogue do I want to use?
• How will I manage the transition between dialogueand commentary?
• Where should I place a simple sentence for effect?
• Should I use two or three compound sentencestogether in the middle of a paragraph to addrhythm and balance?
• Where should I put my clause? At the front, foremphasis, or at the end, to delay the impact?
• It’s OK to break the rules on purpose and usesentences that don’t sound complete.
• I could use this for impact at the beginning or endof my writing. Maybe use a word to describe a keyfeature about my character, e.g. ‘Ugly’.
• These are good for adding detail about the character.
• Using one of these verbs tells the reader straightaway what my character is doing, e.g. ‘Spying, …’
• These add detail, so it’s good to put them at thefront – they involve my reader quickly.
• Good to use these if I want to keep the readerguessing about the identity of my character.
• These give lots of detailed information in an easy way.
• Using a conjunction at the beginning of a sentenceis a brilliant way to emphasise a point, e.g. ‘Ugly. Sougly.’
• Check that I haven’t used a verb and an adverb,when I could use a more powerful verb.
• Do I want to stay in past tense, or could I also usethe present to make this feel immediate?
• Have I used vocabulary that is descriptive andincludes metaphors and similes?
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 6.1Lesson 6
22
1 Copy the chart below into your reading journal.
2 Using your timelines, identify the problems that Alex has faced so far in Point Blanc.
3 In column 1, note down the problem using key words, phrases and bullet points.
4 In column 2, note down what Alex’s solution to the problem is.
5 In column 3, note down why you think Alex chose this solution.
6 In the final column, note down what you would have done, if you had been in the samesituation.
7 Finally, choose one other character and note down why you think they act the way they do.
Problem What Alex did Why I think he did this What I would have done
• Upset about his bestfriend.
• Wanted to stop thedealers.
• Couldn’t find a phone.
• Hooked bargeonto crane.
• Dropped bargeinto drugconference.
• Drug dealers –Alex needs tostop them.
• Called the police.
ContextAs a group we have:
• explored how we are going to use reading journals
• discussed the key features of the action/adventure genre
• explored how the writer creates characters and manipulates our feelings about them
• looked at how the chapters are structured and drawn a timeline of the plot.
Now you are going to explore what motivates Alex to act the way he does.
Objectives• R2 Extract information
• R4 Notemaking.
Teaching objectives• R12 comment, using appropriate terminology, on how writers convey setting,
character and mood through word choice and sentence structure
• R14 recognise how writers’ language choices can enhance meaning, e.g. repetition,emotive vocabulary, varied sentence structure or line length, sound effects.
Focus• Chapters 5–6
• Exploration of how writers create tension.
Starter activityUsing their journals to record their ideas, ask pupils to brainstorm how a writer can create tension, focusing onbalance of dialogue/description, sentence variety, questions, powerful verbs and repetition.
Model the example of a tension graph (below) for pupils, based on Chapter 5:
Pupil task 1
Ask pupils to work in pairs. Direct Pupil A to draw a tension graph of Chapter 5 and Pupil B to draw a graph ofChapter 6. Ask pupils to compare the two graphs, looking for similarities and differences between Chapters 5 and 6and exploring how the author uses tension in these two chapters.
Development
Using text annotation, highlighting and ‘Post-it’ notes, model a close reading of the extract from Chapter 5, usingAnnotated text 7.2, focusing on how Horowitz creates tension.
Pupil task 2
Working in pairs, ask pupils to make notes about how tension is created in Chapter 6, using annotation and‘Post–it’ notes.
23
Teacher planner 7.1Lesson 7TE
NSI
ON
PLOT
Falling action –Alex hides untilthe danger haspassed.
Rising action –Alex disagrees withshooting animalsfor fun andantagonises Rufus.
Reversals and almost-climaxes – there isantagonism between theteenagers. Alex gets lost.
Climax – Alexis hunted andshot at.
Denouement –Alex gets hisown back; hehumiliates Rufus.
Precipitating incident– teenagers go shooting.
24
Chapter 5: pages 63–657.2
Annotated text
Alex sensed the danger before the first shot was fired. Perhapsit was the snapping of a twig or the click of the metal boltbeing slipped into place. He froze – and that was what savedhim. There was an explosion – loud, close – and a tree one stepahead of him shattered, splinters of wood dancing in the air.Alex turned round, searching for whoever had fired the shot.“What are you doing?” he shouted. “You nearly hit me!”Almost immediately there was a second shot and, just behindit, a whoop of excited laughter. And then Alex realised. Theyhadn’t mistaken him for an animal. They were aiming at himfor fun!He dived forward and began to run. The trunks of the treesseemed to press in on him from all sides, threatening to bar hisway. The ground beneath him was soft from recent rain anddragged his feet, trying to glue them into place. There was athird explosion. He ducked, feeling the gunshot spray abovehis head, shredding the foliage.
* * *Alex came to a stumbling, sweating halt. He had broken out ofthe wood but he was still hopelessly lost. Worse – he wastrapped.
Extract from Point Blanc by Anthony Horowitz
Action isfrontloaded foremphasis
Dash used foremphasis
Adverb used tosuggest possibility– adds to thesense ofuncertainty
Repeated co-ordination adds tothe build-up ofpace
Again, action isfrontloaded
Questionemphasises howvulnerable hefeels. He is not ina position ofstrength
Two more non-finite clauseswhich add detail
Co-ordinatingsentence drivenby verbs
Adverbial phraselocates the timeand keeps thepace high
Monosyllabicwords, separatedout by dashes foremphasis
Non-finite clauseadds to imagery
Conjunction usedfor dramatic effect
A non-specificgroup adds to thetension. This hasmore impact thanif Horowitz hadsaid ‘Rufus’
Non-finite clausesadd detail. Theskeleton of thenarrative action ispacked with SVO,separated withnon-finite clausesthat describe thescene or Alex
Simple sentencefor dramaticimpact
Teaching objectives• R14 recognise how writers’ language choices can enhance meaning, e.g. repetition,
emotive vocabulary, varied sentence structure or line length, sound effects
• Wr7 use a range of narrative devices to involve the reader, e.g. withholdinginformation
• Wr9 make links between their reading of fiction, plays and poetry and the choicesthey make as writers.
Focus• Stormbreaker (Chapter 2)
• Exploration of how Horowitz creates tension in Stormbreaker and Point Blanc.
Modelled readingHelp pupils to develop their exploration of the strategies that Horowitz uses to create tension in Point Blanc(explored in Lesson 7 and the starter activity of this lesson) by modelling writing a paragraph (below) fromStormbreaker (Chapter 2: page 16).
In the following extract, Alex is trapped in his dead uncle’s BMW, which is about to be crushed in a breaker’s yard:
25
Teacher planner 8.1Lesson 8
And then something hit the BMW with such force that Alexcried out, his whole body caught in a massive shock wave thattore him away from the steering wheel and threw himhelplessly into the back. At the same time, the roof buckledand three huge metal fingers tore through the skin of the carlike a fork through an eggshell, trailing dust and sunlight. Oneof the fingers grazed the side of his head – any closer and itwould have cracked his skull. Alex yelled as blood trickledover his eye. He tried to move, then jerked back a second timeas the car was yanked off the ground and tilted high in the air.He couldn’t see. He couldn’t move. But his stomach lurched asthe car swung in an arc, the metal grinding and the lightspinning. It had been picked up by the crane. It was going tobe put inside the crusher. With him inside.
Extract from Stormbreaker by Anthony Horowitz
Conjunction usedfor impact
Noun phrase addsdetail
Simile adds todescriptive impact
Semantic linkbetween‘eggshell’ and‘cracked’ so thatwe think of hisskull as an egg
What? We don’tknow
Noun phrase addsdetail
Action-packedverb. Otherexamples ofaction-packedverbs include‘tore’, ‘threw’,‘buckled’, ‘yelled’and ‘yanked’
Non-finite clauseadds detail
Temporalconnectiveemphasises thepace
Teaching objectives• R1 know how to locate resources for a given task, and find relevant information in
them, e.g. skimming, use of index, glossary, key words, hotlinks
• R2 use appropriate reading strategies to extract particular information, e.g.highlighting, scanning
• R7 identify the main points, processes or ideas in a text and how they aresequenced and developed by the writer.
Focus• Extracting, transferring and recording information.
Model reading Extracts 1 and 2 (below), in which the key features of one of the gadgets (the yo-yo) and how it isused are highlighted. Explain to pupils that you are looking for specific information relating to the gadget (i.e. itskey features and how it was used). Extract the relevant information and enter the information on the gadgetrecord sheet as shown on Pupil worksheet 9.2.
Extract 1 – description of the gadget
Extract 2 – how it was used
Explain that pupils are going to complete a jigsaw activity. Divide the class into five equal groups labelled A–E.Allocate a different gadget to each group and direct the groups to extract information from the novel about its keyfeatures and how it was used and then to transfer this information to the gadget record sheet (on Pupil worksheet9.2), following the example for the yo-yo.
26
Teacher planner 9.1Lesson 9
A yo-yo. It was slightly larger than normal, made of black plastic.“Let’s start with this,” Smithers said.Alex shook his head. He couldn’t believe any of this. “Don’t tell me!” he exclaimed. “It’s some sort ofsecret weapon ...”“Not exactly. I was told you weren’t to have weapons. You’re too young.”“So it’s not really a hand grenade? Pull the string and run like hell?”“Certainly not. It’s a yo-yo.” Smithers pulled out the string, holding it between a podgy finger and thumb.“However, the string is a special sort of nylon. Very advanced. There are thirty metres of it and it can lift weights of up to one hundred kilograms. The actual yo-yo is motorized and clips on to your belt. Veryuseful for climbing.”
Extract from Stormbreaker by Anthony Horowitz
Alex let go of the steering wheel, grabbed the harpoon gun and fired. The harpoon flashed through the air.The yo-yo attached to Alex’s belt spun, trailing out thirty metres of specially designed advanced nylon.The pointed head of the harpoon buried itself in the underbelly of the plane. Alex felt himself almostbeing torn in half as he was yanked out of the Jeep on the end of the cord. In seconds he was forty, fiftymetres above the runway, dangling underneath the plane. His Jeep swerved, out of control. The other twoJeeps tried to avoid it – and failed. Both of them hit it in a three-way collision.
* * *Alex saw little of this. He was suspended from the plane by a single thin white cord, twisting round andround as he was carried ever further into the air. The wind was rushing past him, battering into his face anddeafening him. He couldn’t even hear the propellers, just above his head. The belt was cutting into hiswaist. He could hardly breathe. Desperately he scrabbled for the yo-yo and found the control he wanted.A single button ... he pressed it. The tiny, powerful motor inside the yo-yo began to turn. The yo-yo rotatedon his belt, pulling in the cord. Very slowly, a centimetre at a time, Alex was drawn up towards the plane.
Extract from Stormbreaker by Anthony Horowitz
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 9.1Lesson 9
27
1 Working in pairs, explain to each other the following definitions:
• scanning: when you want to find a particular piece of information in a text, you can scanread for a key word.
• skimming: reading a whole text quickly to get an overall understanding of what it isabout, picking out key words as you read.
2 Now skim read the extracts from Point Blanc by Anthony Horowitz below which describe thegadgets that are supplied to Alex to help him with his assignment, and how to use them.
3 Extracts 1–5 each refer to a different gadget. Identify the name of the gadget and thenhighlight where each gadget is described in Extract 1.
Extract 1
Extract 2
Extract 3
Extract 4
Extract 5
There was only one thing Alex could do. He lifted the book and pointed it at Fiona, thenpressed the spine once, hard. There was no noise, but he felt the book shudder in hishand. Fiona put her hand to the side of her leg. All the colour drained out of her face.
All the bedroom windows were fastened with a steel rod that allowed them to open tencentimetres but no more. Alex picked up his Discman, put in the Beethoven CD andturned it on. The CD spun round – moving at fantastic speed – then slowly edgedforward, spinning, until it protruded from the casing. Alex pressed the edge of the CDagainst the steel rod. It took just a few seconds. The CD cut through the steel like scissorsthrough paper. The rod fell away, allowing the window to swing fully open.
He knew enough. It was time to call for the cavalry. He pressed the fast forward buttonthree times, then went to have a shower.
Now was the time to put it to the test. Alex reached up and unscrewed the ear-stud. Hepulled it out of his ear, slipped the two pieces into the keyhole and then counted to ten.
Nothing happened. Was the stud broken, like the Discman transmitter? Alex was about togive up when there was a sudden flash, an intense sheet of orange flame. Fortunatelythere was no noise. The flare continued for about five seconds, then went out. Alex wentback to the door. The stud had burned a hole in it, the size of a two pound coin. Themelted metal was still glowing. Alex reached out and pushed. The door swung open.
Quickly Alex zipped up the ski suit. Smithers had said it was bullet-proof and it occurred tohim that he was probably going to need it. He put the goggles around his neck … Therewas no moon now. Alex found the switch concealed in the goggles and turned it. Heheard a soft hum as the battery activated, and suddenly the side of the mountain glowedan eerie green and Alex was able to see the trees and the deserted ski-run falling away.
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 9.1Lesson 9
28
Extract 6
“The school doesn’t allow Game Boys – or any computers at all, for that matter. Theysupply their own laptops. I could have hidden a dozen gadgets inside a laptop, but thereyou are! Now let’s see …” He opened the case. “I’m told there’s still a lot of snow up atPoint Blanc, so you’ll need this.”
“A ski suit,” Alex said. That was what Smithers was holding.
“Yes. But it’s highly insulated and also bullet-proof.” He pulled out a pair of green-tintedgoggles. “These are ski goggles. But in case you have to go anywhere at night, they’reactually infrared. There’s a battery concealed in the frame. Just press the switch and you’llbe able to see for about twenty metres, even if there’s no moon.”
Smithers reached into the case a third time. “Now, what else would a boy of your agehave with him? Fortunately, you’re allowed to take a Sony Discman – provided all the CDsare classical.” He handed Alex the machine.
“So while people are shooting at me in the middle of the night, I get to listen to music,”Alex said.
“Absolutely. Only don’t play the Beethoven!” Smithers held up the disc. “The Discmanconverts into an electric saw. The CD is diamond-edged. It’ll cut through just aboutanything. Useful if you need to get out in a hurry. There’s also a panic button I’ve built in.If the balloon goes up and you need help, just press fast forward three times. It’ll send outa signal which our satellite will pick up. And then we can fast forward you out!”
“Thank you, Mr Smithers,” Alex said. But he was disappointed and it showed.
Smithers understood. “I know what you want,” he said, “but you know you can’t have it.No guns! Mr Blunt is adamant. He thinks you’re too young.”
“Not too young to get killed though.”
“Yes, well. I’ve given it a bit of thought and rustled up a couple of … defensive measures,so to speak. This is just between you and me, you understand. I’m not sure Mr Bluntwould approve.”
He held out a hand. There was a gold ear-stud lying in two pieces in the middle of hispalm; a diamond shape for the front and a catch to hold it at the back. The stud lookedtiny surrounded by so much flesh.
“They told me you’d had your ear pierced,” he said. “So I made you this. Be very carefulafter you’ve put it in. Bringing the two pieces together will activate it.”
“Activate what?” Alex looked doubtful.
“The ear-stud is a small but very powerful explosive device. Separating the two piecesagain will set it off. Count to ten and it’ll blow a hole in just about anything – or anyone, Ishould add.”
“Just so long as it doesn’t blow my ear off,” Alex muttered.
“No, no. It’s perfectly safe so long as the pieces remain attached.” Smithers smiled. “Andfinally – I’m very pleased with this. It’s exactly what you’d expect any young boy leavingfor school to be given, and I bought it specially for you.” He produced a book.
Alex took it. It was a hardback edition of Harry Potter and the Chamber of Secrets.“Thanks,” he said, “but I’ve already read it.”
“This is a special edition. There’s a gun built into the spine and the chamber is loaded witha stun dart. Just point it and press the author’s name on the spine. It’ll knock out an adultin less than five seconds.”
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 9.2Lesson 9
29
Group task1 Working in groups, and following your teacher’s example, extract information from the novel
about the gadget which you have been allocated by your teacher. Focus on its key featuresand how it is used.
2 Transfer this information to the gadget record sheet below.
Gadget record sheet
ContextAs a group we have:
• explored what motivates the characters
• made links between what we read and what we write
• skim read an extract that describes the gadgets given to Alex
• skim read the extracts that show how the gadgets were used.
Now you are going to extract information about gadgets from the novel andtransfer it to a record sheet.
Objectives• R1 Locate information
• R2 Extract information
• R7 Identify main ideas.
Gadget Key features How it was used
• Yo-yo • Black plastic
• 30 metres of strong nylon
• Motorised
• Clips onto belt
Yo-yo was attached to belt. Cord was attached to aharpoon. Harpoon was fired at plane. Button waspressed. Motor drew Alex up to plane. He gained entry.
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 10.1Lesson 10
30
Group task1 Select an item (e.g. a key ring) and adapt it as a gadget for a spy. Use a sheet of sugar
paper to help you organise your ideas about how you could adapt the object into a gadgetfor a spy.
2 Record the details on the gadget planning sheet below. An example has been started for you.
You will be swapping your gadget planning sheets with another group, so make sure thatyour explanation is clear. You may include illustrations and labelled diagrams.
Gadget planning sheet
3a) Write a description of the gadget, using the key features of the description of a gadgetnoted in your reading journals.
b) Write an explanation of how to use the gadget. Include how to treat it, what you must dowith it and safety tips during use.Think about which connectives you could use. Choose some from the following list:
ContextAs a group we have:
• explored what motivates the characters
• made links between what we read and what we write
• skim read extracts that show how the gadgets were used.
• explored which behaviours support collaborative group work.
Now you are going to work in groups and design your own gadgets.
Objectives• WR11 Present information
• WR13 Instructions and directions.
Object: key ring
Typical features: metal split ring, decorative attachment, e.g. plastic flower, leather fob
Possible adaptations:Split ring can be opened, straightened and then used for picking locks.Flower/fob attachment can be used as a secret camera.Flower/fob attachment can be used as a remote detonating button.
Name of gadget:
Special features:
How could it be used?
• for example• next• first
• second• third• after
• meanwhile• following.
Teaching objectives• Sn11 vary the structure of sentences within paragraphs to lend pace, variety and
emphasis
• R12 comment, using appropriate terminology, on how writers convey setting,character and mood through word choice and sentence structure
• R14 recognise how writers’ language choices can enhance meaning, e.g. repetition,emotive vocabulary, varied sentence structure or line length, sound effects.
Focus• Chapter 9
• Exploration of how the author builds a sense of unease.
Modelled readingModel a close reading of the extract below from Chapter 9, focusing on how the author builds a sense of uneasethrough word and sentence level features. Give pupils other sections to explore, following your example.
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Teacher planner 11.1Lesson 11
Chapter 9: page 103
The academy at Point Blanc had been built by a lunatic. For atime it had been used as an asylum. Alex remembered whatAlan Blunt had told him as the helicopter began its finaldescent, the red and white helipad looming up to receive it.The photograph in the brochure had been artfully taken. Nowthat he could see the building for himself, he could onlydescribe it as … mad.It was a jumble of towers and battlements, green sloping roofsand windows of every shape and size. Nothing fitted togetherproperly. The overall design should have been simple enough;a circular central area with two wings. But one wing waslonger than the other. The two sides didn’t match. Theacademy was four floors high but the windows were spaced insuch a way that it was hard to tell where one floor ended andthe next began. There was an internal courtyard that wasn’tquite square, with a fountain that had frozen solid. Even thehelipad, jutting out of the roof, was ugly and awkward, as if aspaceship had smashed into the brickwork and lodged in place.
from Point Blanc by Anthony Horowitz
Suggestsdeception
Use of ellipsis fordramatic pause
Hints of madness
Suggests it isn’tgoing to bepleasant – weassociate‘looming’ withthreats
Sounds chaotic –nothing matches;nothing is ordered
Co-ordinatingconjunctionsuggests what itshould have been
Use of modal tosuggest it oughtto have beenordered
Nothing is as itappears
Bitterly cold
Vocabularysuggestssomethingunwelcoming
Synonym linkswith ‘lunatic’ and‘asylum’ above
Teaching objective• Wr7 use a range of narrative devices to involve the reader, e.g. withholding
information.
Focus• Exploration of how the author builds a sense of unease, focusing on Stormbreaker.
Modelled writingUsing the opening sentence of a paragraph from Stormbreaker (Chapter 7), model writing one paragraph,developing the strategies explored in Lesson 11. Move to shared writing for paragraph two.
Ask pupils to continue to draft a third paragraph in which a sense of unease is built, using the strategies exploredin the previous lesson.
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Teacher planner 12.1Lesson 12
Chapter 7: page 69
The car reached the main gate, where there was a security cabinand electronic barrier. A guard in a blue and grey uniform withSE printed on his jacket waved them through with his MP5SD6sub-machine gun. Alex was puzzled as to why the guardsneeded guns with silencers. But before he could phrase thequestion, a piercing alarm cut through his consciousness,making him wince and bring his shoulders up to his ears. The noise was excruciating. That, the silent guns and the bittercold that was gnawing away at his fingers, made Alex questionwhat he was doing in such a place. He was a long way fromhome.
Noun phrases allsuggest barriers –it isn’t easy to getinto this place Why is there an
armed guard?
Noun phrase andverb add detail
Pattern of threereinforces Alex’ssense of unease
Use ofconjunction forimpact
Simple sentencecontrasts withlength of previousco-ordinatingsentence
Simple sentencefor impact
Teaching objectives• Wr9 make links between their reading of fiction, plays and poetry and the choices
they make as writers
• Wr18 identify criteria for evaluating a particular situation, object or event, presentfindings fairly and give a personal view.
Focus• Linking points to explain evidence.
Model the point/example/explanation process, using the ‘Post-it’ notes from the starter activity.
Use the example and the grid below to model how to link points to explain evidence. Show pupils how notes canbe remodelled into an evaluative comment.
Example
In Chapter 2, the writer describes Alex as being unsettled at school. The phrases ‘Another school day’ and‘part of him wanted it to happen all over again’ tell us this. This shows that Alex has changed, highlighting justhow much he has developed. He feels different from his peers.
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Teacher planner 14.1Lesson 14
POINT: what the writer does
• In the opening line the narrator talks about
• In this paragraph s/he describes
• In chapter … focuses on
compares … to …
suggests
uses … to …
EXAMPLE: evidence from the text
• For example, ‘quotation’
• For instance, ‘quotation’
• This is illustrated when the writer suggests …
• This is highlighted when the narrator says …
• The words ‘…’ and ‘…’
• The phrase ‘…’
• The description of …
• The alliteration of …
• The choice of …
EXPLANATION: what this effect has on you, the reader
This/which
• creates the/an impression of/that …
• shows that …
• emphasises that …
• makes the reader feel that …
• suggests that …
• conveys a sense of …
• highlights the …
• illustrates …
Teaching objective• Wr6 portray character, directly and indirectly, through description, dialogue and
action.
Focus• Chapter 12
• Exploration of how Horowitz manages the transition between dialogue andnarrative comment.
Activation of prior knowledgeAsk pupils to explain what dialogue is.
Explain that a dialogue is when characters speak to each other (in for example, a novel) and their words are placedin quotation marks so that the reader knows which words each character has said.
Ask pupils why writers include dialogue in stories. Explain that dialogue can have many functions, and a goodwriter will try to give each piece of dialogue more than one function at a time, if possible. Focus pupils on some ofthe ways dialogue can be used, including:
• to convey the action – in other words, to function the same way as expository prose, but with a character doingthe explaining
• to show character
• to convey sense of place and time – by including specific phrases or words used in a particular time or place
• to develop conflict – dialogue is a great way to have characters argue, express feelings and opinions and muchmore.
Remind pupils that, although dialogue represents speech, it is not real speech. To help pupils understand why, askthem to write down a conversation word for word and then read it through. They will see that real speech isboring. This reinforces the point that we need to craft dialogue to give the illusion of speech while avoiding all theannoying aspects of actual conversation. Explain that one way to keep dialogue interesting is to make action partof dialogue as well as speech by interspersing the dialogue with sentences describing what a character is doing asthey speak.
Following a shared reading of Chapter 12, model a close reading of Chapter 12 (focusing on pages 152–153 usingAnnotated text 15.2), exploring how Horowitz manages the transition between dialogue and narrative comment.
Then ask pupils to focus on pages 158–160 of Point Blanc and explore in pairs how the transition betweendialogue and narrative comment is handled.This could be an opportunity to work with a small guided group ofpupils who are weaker at exploring this aspect.
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Teacher planner 15.1Lesson 15
DELAYING TACTICS
It was raining in London, the sort of rain that never seems to stop.The early evening traffic was huddled together, going nowhere.Alan Blunt was standing at the window looking out over the streetwhen there was a knock at the door. He turned away reluctantly, asif the city at its most damp and dismal held some attraction forhim. Mrs Jones came in. She was carrying a sheet of paper. AsBlunt sat down behind his desk he noticed the words Most Urgentprinted in red across the top.“We’ve heard from Alex,” Mrs Jones said.“Oh yes?”“Smithers gave him a Euro-satellite transmitter built into aportable CD player. Alex sent a signal to us this morning … at tentwenty-seven hours, his time.”“Meaning?”“Either he’s in trouble or he’s found out enough for us to go in.Either way, we have to pull him out.”“I wonder …” Blunt leaned back in his chair, deep in thought. Asa young man, he had gained a first class honours degree inmathematics at Cambridge University. Thirty years later, he stillsaw life as a series of complicated calculations. “Alex has been atPoint Blanc for how long?” he asked.“A week.”“As I recall, he didn’t want to go. According to Sir David Friend,his behaviour at Haverstock Hill was, to say the least, anti-social.Did you know that he knocked out Friend’s daughter with a stundart? Apparently, he also nearly got her killed in an accident in arailway tunnel.”“He was playing a part,” she said. “Exactly what you told him todo.”“Playing it too well, perhaps,” Blunt murmured. “Alex may nolonger be one hundred per cent reliable.”“He sent the message.” Mrs Jones couldn’t keep the exasperationout of her voice. “For all we know, he could be in serious trouble.We gave him the device as an alarm signal. To let us know if heneeded help. He’s used it. We can’t just sit back and do nothing.”“I wasn’t suggesting that.” Alan Blunt looked curiously at her.“You’re not forming some sort of attachment to Alex Rider, areyou?” he asked.Mrs Jones looked away. “Don’t be ridiculous.”“You seem worried about him.”“He’s fourteen years old, Alan! He’s a child, for heaven’s sake.”“You used to have children.”“Yes.” Mrs Jones turned to face him again. “Perhaps that doesmake a difference. But even you must admit that he’s special. Wedon’t have another agent like him. A fourteen year old boy! Theperfect secret weapon. My feelings about him have nothing to dowith it. We can’t afford to lose him.”
from Point Blanc by Anthony Horowitz
35
Chapter 12: pages 152 – 15315.2
The pronoun isused to avoidambiguity, to helpthe reader keeptrack
We are told thatBlunt is speaking,through hisaction.
‘She’ tells us MrsJones is speaking
This indicateshow he spoke, i.e.quietly, softly, as ifto himself
Again, we aretold through theaction whichcharacter isspeaking
Dialogue openswithstraightforward‘said’ – we aretold who isspeaking
We followrationally who isspeaking – it isn’tnecessary toindicate thespeaker when theexchanges areshort
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Pupil worksheet 16.1Lesson 16
36
Tension hooks readers and keeps them turning the page. Writers employ many methods ofkeeping the tension high. You are going to explore three ways of maintaining tension.
Group task – the clock, the crucible and the contract1 Work in a group of six and then subdivide into three pairs. Label yourselves A, B or C.
2 Each pair must explore how their method of applying tension works in Point Blanc. You drawa mind-map to map your ideas. Refer to the novel and to your reading journals for ideas.
3 Now come together and provide feedback to each other about your findings.
4 Read Chapter 13 together. Can you see more examples of the clock, the crucible and thecontract in this chapter? What happens to the tension?
1 The clock – Pair A
Set your action against the shadow of a ticking clock. This is not a real clock, but a time limitwhich presents automatic tension. Time forces your characters to take action. The clock canprovide:
• mental tension (a personal goal for your character)
• emotional tension (the character will suffer embarrassment or shame if the task is notcompleted on time)
• impending danger (harm will come to the character or someone he or she cares aboutwhen the time is up).
2 The crucible (a crucible is a vessel in which substances are heated to hightemperatures) – Pair B
Constrain your characters as you apply the heat. Lock them in so that when you turn up theheat they cannot run away – they have to find solutions to their problems. James Bond isalways being put in a crucible – and he always works it out!
3 The contract – Pair C
Make promises to your reader and then keep them. Good writers fill their novels withpromises to their readers. For example, if a writer mentions a loaded shotgun in a cupboard,readers will expect that, if they keep reading, the gun will be used. This promise is calledforeshadowing and creates tension. Remember – if you make a promise to your reader, itmust be kept!
ContextAs a group we have:
• explored characters, with a focus on inference and deduction
• developed how to integrate evidence in writing to analyse, review and comment
• explored Horowitz’s narrative style.
Now you are going to explore the stucture of the novel and how it can be used tocreate tension.
Objectives• R2 Extract information
• R3 Compare presentation
• R15 Endings.
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 18.1Lesson 18
37
1 Working in pairs to fours, list the common factors belonging to all the spy novels and filmswhich you have read/seen.
2 Update your timeline for Point Blanc and then identify the similarities and differences betweenthe structure of Point Blanc and the generic structure of spy novels/films. Use the grid below torecord your ideas. If you have read other Horowitz novels in this series use this knowledge too.
Similarities between Point Blanc Differences between Point Blanc and spy novels/films and spy novels/films
ContextAs a group we have:
• explored characters, with a focus on inference and deduction
• developed how to integrate evidence in writing to analyse, review and comment
• explored Horowitz’s narrative style
• explored the structure of the novel and the creation of tension.
Objective• R20 Literary heritage
© Pearson Education Limited 2004. This may be reproduced for class use solely within the purchaser’s school or college.
Pupil worksheet 19.1Lesson 19
38
The role of the action hero1 Identify action heroes from your reading/film viewing. Working in pairs, note the key
characteristics of an action hero, in a spider diagram. You may want to revisit your notes onthe key features of the action/adventure genre explored earlier.
• A hero: is a person of distinguished courage or ability, admired for his or her brave deedsand noble qualities. Anyone can become a hero when they act courageously and nobly.
• An idol: is any person or thing regarded with blind admiration, adoration or devotion.
2a) Can you think of any idols, rather than heroes?
b) How is a hero different from an ‘action hero’?
3 Now you are going to explore Alex’s role in Point Blanc. Working in pairs, discuss thefollowing statements about Alex. Say whether you agree or disagree with each statement,supporting your answer with evidence from the novel.
4 Is Alex a hero? Support your answer with evidence from the novel.
ContextAs a group we have:
• explored characters, with a focus on inference and deduction
• developed how to integrate evidence in writing to analyse, review and comment
• explored Horowitz’s narrative style
• identified the similarities and differences between Point Blanc and spy novels/films.
Now you are going to explore the role of the action hero.
Objective• R7 Identify main ideas.
Statement Agree Disagree Evidence from Point Blanc
1. Alex is brave and strong. Agree Disagree
2. Alex is caring and thoughtful. Agree Disagree
3. Alex is selfish. Agree Disagree
4. Alex is never frightened. Agree Disagree
5. Alex makes mistakes. Agree Disagree
6. Alex is never dishonest. Agree Disagree
7. Alex puts others before himself. Agree Disagree
8. Alex stands up for himself. Agree Disagree
9. Alex never gets angry. Agree Disagree
10. Alex is always a popular person. Agree Disagree